The King of Jazz By Jonas Nordin

Universal Pictures had contracted Paul Whiteman and his orchestra for a movie project as early as October 1928. The band was one of the most popular in the world by then and to feature Whiteman in an all talking musical picture built around his band simply had to be done.

Director Wesley Ruggles was signed and the studio immediately sent out Paul Shofield, a staff writer on tour with the band, culminating in filming the band's entire concert at Carnegie Hall December 23, 1928. This footage however, was never used and is not known to have sur- vived. Filming was planned to start Janu- Bing Crosby harmonizes with Rhythm Boys Harry Barris and Al Rinker ary 15, 1929 but was immediately de- on the lively ditty “Happy Feet.” Courtesy Universal Pictures. layed as no script existed. Whiteman movie a revue is very understandable. The band left the east coast for Hollywood and re- Once this was decided the studio replaced Paul ported to Universal Studios for the filming of the mov- Fejös with Broadway stage director John Murray ie on June 28th, 1929. The musicians included Bix Anderson at the suggestion of Paul Whiteman. This Beiderbecke, The Rhythm Boys with Bing Crosby, was to be Anderson's first attempt at directing a mo- violinist Joe Venuti and guitarist Eddie Lang. tion picture. Fejös initially stayed on, working as an assistant director under Anderson, but left this posi- When Whiteman and the band arrived in Los Ange- tion soon afterwards, and was replaced by Robert les to begin filming, director Wesley Ruggles had Ross who had worked closely with Anderson on been replaced by Paul Fejös who had made Broadway. “Lonesome” and “Broadway” prior to this assignment. From the very beginning the studio had difficulties When the news of a revue arrived, Whiteman and the building a story around the orchestra, after all a musi- orchestra left New York and arrived in Los Angeles cal movie about an orchestra had never been done on October 25th, 1929. Filming began shortly after before. While waiting for the completion of an agreed the band arrived. Unfortunately Bix Beiderbecke did -upon film script, the band featured in weekly radio not make the trip due to illness, so unfortunately we shows and also had the time to play at private parties do not have a filmed record of Bix playing the cornet held by several Hollywood celebrities. in a featured solo in the movie.

After two months waiting for a working script, on “The King of Jazz” was to be one of the ten first talk- August 27, 1929 the band went back to New York ing pictures that was shot entirely in color using the until a script was ready and filming would begin. After Technicolor two-color process. The movie also in- some time it was agreed that the film would be a re- cluded the first Technicolor animated cartoon seg- vue, along the lines of a vaudeville or stage produc- ment by animators Walter Lantz and William Nolan. tion. The 1929-30 season had seen several big, lav- Once filming had begun the band worked really hard ish all talking, all singing, all dancing revues. All ma- with almost no time off. The revue format made it jor Hollywood studios made at least one, at least possible to employ the unusual practice of writing the partly shot in color, no expenses saved. The biggest script after the shooting of each sequence as filming success of them all was MGM's “Hollywood Revue of went along. 1929” that opened in the summer of '29 and it paved the way for the other studios contributions to the gen- Another quite unusual practice at the time was mim- re. ing to a pre-recorded soundtrack. Whiteman wanted At this point, early fall 1929 The Hollywood Revue his band to sound as good as possible and wanted to was a big success, so the decision to make the avoid the common practice of live recording while filming to gain control over the band's sound. A wise The initial budget for “The King of Jazz” was $1.5 mil- decision as it made it possible to film the sequences lion dollars. Because of the delays in developing a silent with greater freedom and more elaborate cam- script, weekly salaries and living quarters of era work as a result. Whiteman and the musicians while they waited, lav- ish sets built and torn down unused, about half a mil- In November 1929, just after filming had begun, Bing lion dollars had been spent before actual filming even Crosby was involved in a drunk driving car accident, begun. The final cost of the movie was nearly $2 mil- in which his passenger was injured. A strict prohibi- lion, a staggering amount in 1930. During its national tion judge sentenced him to 60 days in jail. Crosby release, "King of Jazz" cleared less than $900,000. was transferred to a jail near the studio, and an ar- Overseas, it fared better and eventually made a profit rangement was made for him to be escorted to and after its edited re-release in 1933. from the studio as often as possible. It’s because of this Crosby lost the lead role in the "Song of the The movie won an Oscar for Herman Rosse in the cat- Dawn" production number to John Boles (Crosby did egory of Best Art Decoration/Set Decoration in 1930. the lead vocal on the studio recording of the song). However, Crosby did appear with the Rhythm Boys, as well as singing for the opening credits and the cartoon. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress. The Los Angeles premiere of the film was held on April 20, 1930 at the Criterion Theater. Receipts for the first two weeks were below expectations. The grand premiere of the film was held on May 2, 1930 Jonas Nordin is a freelance film historian and blogger, sound engineer and general entertainment archaeologist at the Roxy Theater in New York. Universal also pro- based in Stockholm Sweden, specializing in the history of duced at least nine different foreign language ver- recorded sound and the transition from silent to talking sions of the film, each with a different master of cere- pictures. The Scandinavian emissary for the Vitaphone monies. Bela Lugosi was hired to present the Hun- Project, Nordin rediscovered Tiffany Pictures lost all garian version, Nils Asther, hosted the version in- Technicolor drama “Mamba” (1930) in 2009, working tended for Scandinavian audiences. closely with Australian film preservationist Paul Brennan.